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Daily Dose #20: Look! (Opening Scene of Frenzy)


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#41 TCM_Film_Fan

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Posted 29 July 2017 - 03:38 PM

The opening scene of The Lodger has a frantic, terror-filled vibe, with the first visual of the woman screaming into the camera setting the tone.  The crowds seen in The Lodger are clearly lower-class by their attire, while the crowd in Frenzy appears well-dressed and affluent.  We see police rushing into action in The Lodger, yet Frenzy has an almost casual feel to the discovery of the body...."Hey, look!"  

 

The rolling view over the river into the heart of London is in true Hitchcock POV fashion.  We are treated to a fantastic birds-eye view, as we sweep along the river.  The regal/royal music is perfectly matched with the setting, and viewers are immediately put in a famous and familiar location.  

 

Hitchcock sets a unique tone with his opening scenes, always making the viewer eager to know what has  happened and what will happen next.  He's able to draw us into each story line with a mix of graphics, set design and music.  Once we see a few minutes of the opening scene, we always want more!

 


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#42 joant

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Posted 29 July 2017 - 02:46 PM

I forgot how truly funny parts of Frenzy are.
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#43 Cscharre

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Posted 29 July 2017 - 02:28 PM

1. How does the opening of Frenzy differ from the opening of The Lodger? Feel free to rewatch the clip from The Lodger (Daily Dose #2) for comparison. Aside from finding a body, I don't see how anything about these two are similar. The Lodger is more frightening and scary. Frenzy treats death rather calmly.

2. What are some of the common Hitchcock touches that you see in this opening scene? Be specific. The long shot from the helicopter. A dolly shot on a major scale but still the same motion. Then we continue the shot on the politician.

3. Using Frenzy as an example, what thoughts do you have about the various purposes Hitchcock had in mind when he created his opening scenes? In the Daily Doses, we have focused on opening scenes, so there should be patterns or strategies you have noticed over the course of opening scenes spanning Hitchcock's 50 year career. Approaching from a great distance seem to be an opening scene standard. Rebecca and Psycho come to mind. Further into the opening, a major disaster occurs. Hitchcock makes the opening more important than most because it get you hooked into the movie.
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#44 LesleySargoy

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Posted 29 July 2017 - 02:04 PM

What are some of the common Hitchcock touches that you see in this opening scene? Be specific.

 

The panoramic view of a famous place (London) with all of the prominent buildings shown to their best display. Its almost like we are on an airplane and coming in for a landing on the spot where the government official is talking about eradicating water waste and pollution. Even the music if very "official" (pomp and circumstances).

 

However, Hitchcock throws in a surprise when an ordinary man yells, "LOOK!" and everyone sees the dead body floating. This is an abrupt switch in storyline, similar to Psycho, where the lead character gets murdered. Although this switch happens much more quickly and we don't know who the man officiating is, one may think that Frenzy is its about the government, pollution, perhaps corruption and later a murder, etc. However the discovery of the dead body quickly changes the storyline to that of a serial killer in London who rapes and chokes women with a necktie. 



#45 Knuckleheads Return

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Posted 29 July 2017 - 01:38 PM

1. How does the opening of Frenzy differ from the opening of The Lodger? Feel free to rewatch the clip from The Lodger (Daily Dose #2) for comparison. 

 

        ​Frenzy opens almost like a travelogue. We have the initial postcard like image of the Thames flowing through London. We than see the crowd gathered on the side of the river listening to the politician. We then have the line "Look!" and the crowd diverts their attention to the dead body floating along. We see the cameo of Hitchcock very early in this film. He is even wearing a bowler hat to fit right in to the London scene. The Lodger​ is different in that we see the victim first in a close up of her face than a crowd forms and gathers around to look at her body. In Frenzy​ there are reporters present but they are covering the pollution speech while in The Lodger the reporters are covering the murder of the "golden haired" girl. In The Lodger we don't see Hitchcock until a little later in the opening when he is on the telephone with his back to us. The body floating by in Frenzy does not rate a close-up like the face of the victim in The Lodger. In The Lodger the crowds are made up of poor London folk but in Frenzy ​they appear to be of a higher class in London society. Obvious differences are the use of sound, color and the use of the titanic aerial shot.

 

2. What are some of the common Hitchcock touches that you see in this opening scene? Be specific.

 

      ​A few of the common Hitchcock touches that I see are the crossing symbolism that is exhibited by the tugboat steaming across the Thames from right to left; the red and white striped graphics used in the title ​Frenzy; using an exotic setting (London); the strong use of music to set a rather British theme; close-ups used to draw attention i.e. the man who hollers "Look!" and the ladies near him and of course the Macguffin which is the whole deal about pollution in the Thames and fighting it!

 

 

3. Using Frenzy as an example, what thoughts do you have about the various purposes Hitchcock had in mind when he created his opening scenes? In the Daily Doses, we have focused on opening scenes, so there should be patterns or strategies you have noticed over the course of opening scenes spanning Hitchcock's 50 year career.

 

​       I believe that some purposes that Hitchcock had in mind when creating his openings were to draw the audience in and get them hooked as to what is this all about; get the audience's curiosity up; use an exotic place to get attention; plant the seeds of the Macguffin; introduce us to certain characters (unfortunately in The Lodger and Frenzy they are dead); interject some hints about the film through the use of the opening graphics; his use of music to help set the tone and finally make us realize that this is a Hitchcock film!


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#46 mariaki

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Posted 29 July 2017 - 01:13 PM

From the start, I wonder if an element of British class structure is going to be in this film.  Using the medieval heraldry for London to identify the place seems pedantic.  Why is any identification needed?  As soon as the bridge comes into view, the 1972 audience will know the location. There's something upper-crusty about that heraldic icon- not to mention the regal music.  

 

We come to a well-dressed upper class politician, probably a member of parliament, who is quoting romantic nature poetry from Wordsworth and promising the river will be cleaned up so the brown trout and this bird and the other will be back. In other words, a return to idealized times.  He says the water will be "cleared of the waste products of our society" (you know - those long hairs who practice free love)  a few seconds before a woman's corpse makes its appearance.   It's also noteworthy that he specifies all the water "above this point" will be clear. This specificity makes me wonder about the rest of the river.  Is this a class thing?  Clean here, dump there?

 

The majority of people in the crowd are members of the press. Only the back edge of the crowd seems to be the general public.  This is a press moment more than a true interaction of representative class and the people being represented. Just something that highlights a little class separation again.  



#47 mariaki

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Posted 29 July 2017 - 12:34 PM

The notes on the Daily Dose begin with a quote from T.S. Eliot which suddenly made me position Hitchcock in the Modernist era.  In a way, he is an Imagist in that he shows instead of tells and has nothing that is without meaning in his shots.  In another way, he is a Surrealist, not in his visual style but in the shared surrealist concept of busyness of the unconscious and how it can impact our surface world. I also feel that his narrative is moved along by use of existing texts- the monogrammed matchbook cover, the neon hotel sign, a newspaper headline, a name in hotel guest book, etc. (Was it Foreign Correspondent that allowed us to view teletype ribbon as it was being printed?) This reminds me of the way some Modernist artists- Picasso comes to mind- worked printed materials of urban life into collages- another bit for us to assemble meaning. 


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#48 hussardo

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Posted 29 July 2017 - 10:45 AM

1.How does the opening of Frenzy differ from the opening of The Lodger? Feel free to rewatch the clip from The Lodger (Daily Dose #2) for comparison. 

Even though we get the same feelings, what differs Frenzy from The Lodger is sound. Set up is basically the same with minor detail differences.

2. What are some of the common Hitchcock touches that you see in this opening scene? Be specific.

The air shot, public location, close up and profile shot all gives into the Hitchcock touch. And of course the attention to detail without giving away too much information.

3. Using Frenzy as an example, what thoughts do you have about the various purposes Hitchcock had in mind when he created his opening scenes? In the Daily Doses, we have focused on opening scenes, so there should be patterns or strategies you have noticed over the course of opening scenes spanning Hitchcock's 50 year career.

Again, the idea of terrible things that happen in safe places or where people generally is not expecting. Hitchcock sets the mood for just that without taking us by surprise. Public places, regular situations that take ordinary people into extraordinary circumstances. All giving us the audience that feeling... Look! I thought I've seen this before, but no, not exactly.

#49 Craig0904

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Posted 29 July 2017 - 10:23 AM

How does the opening of Frenzy differ from the opening of The Lodger? Feel free to rewatch the clip from The Lodger (Daily Dose #2) for comparison. 

In my opinion, the similarities are the Thames River as a locale.  Also, Frenzy begins with a crowd scene which is similar to The Lodger.  In The Lodger, we are shown the killer’s ‘signature’ – the note that says The Avenger.  In Frenzy, if you look closely, we can see the necktie floating around the victim’s neck.   The necktie being the killer’s signature in Frenzy.  We are not immediately introduced to a main character as part of the crowd (think 39 Steps opening, original Man Who Knew Too Much).

The difference is that in The Lodger, it took place on a foggy evening (you’d expect a Ripper-like murder in that setting).  In Frenzy, it is broad daylight – the tourist’s London - – a very ordinary event such as this politician’s speech.  In the opening scene of The Lodger, the concept of ‘mass-produced news’ is very much in the forefront (teletypes, newsrooms, newspapers, rapid communication).   In Frenzy, you get the idea that politics and the societal state of London will play a much greater role.

What are some of the common Hitchcock touches that you see in this opening scene? Be specific.

The crowd scene – we’ve seen him use crowds so often in his films.  I’d argue that his earlier use of crowd scenes were more effective because it served not only as a reference for the time and place and setting, but also to eventually focus on one particular individual in the crowd who will play a major part in the story.

The high shots – This particular high-shot is done outside.  We get the Travelogue aerial tour of the city.  We’ve seen this kind of shot in The Birds and Psycho, more recently.  Hitchcock used very effectively both indoor and outdoor high-angle shots in so many films.  But we can surely see that Hitch is definitely taking full advantage of the technology now available.

An ordinary setting – There’s nothing scary about the setting.  It’s perhaps an overcast and cool spring day in London.  People are listening to a speech by a politician.  What could possibly go wrong?  A body floating down the river.  Disturbing scenes of violence disrupting a perfectly lovely day and setting.

What I also noticed is perhaps the ‘duality’ of the two Towers of London Bridge.  The concept of duality has been mentioned several times and it’s interesting that Hitch takes the camera between the Towers, rather than over them which would probably have been much easier.

Cameo – Hitch is back to his more humorous cameos here.   How?   By doing absolutely nothing!  By being the only person not applauding the speech, he sticks out like a very disapproving thumb.

Using Frenzy as an example, what thoughts do you have about the various purposes Hitchcock had in mind when he created his opening scenes? In the Daily Doses, we have focused on opening scenes, so there should be patterns or strategies you have noticed over the course of opening scenes spanning Hitchcock's 50 year career.

I think the simplest answer works best here as I try to remember as many Daily Doses as I can.  Hitchcock uses his opening shots to establish the time period and place of the film.  Additionally, I feel he also uses the opening shot to establish who our main characters are and how they fit into the context of the film.   We might get an idea of what they do for a living, or perhaps we’ll get information about the socio-economic status of the characters.

Vertigo, North by Northwest – we know Jimmy Stewart is a cop/detective.  Cary Grant is an urban professional.  Middle/Professional class.

Strangers on a Train, original Man Who Knew Too Much – we get a feeling that the people are upper-middle, or upper-class.  They have money. They can travel.

The Lodger – Seedy, uneducated, lower-class London.

Frenzy – There isn’t any information provided in this film other than a general sense of time and place.


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#50 ManondelaCure

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Posted 28 July 2017 - 11:09 PM

1. 

  • Frenzy - No immediate horror occurs, no woman screaming right at the start, not at night, no flashing sleazy dance club sign, full and busy location with a wide variety of types of people in place verses an empty street, nicer part of London and better dressed people. What ...specific.

2.

  • His humor - the opening is very British, upbeat and like a travel documentary;
  • Polished modern filming - the high soaring in to a scene is so much more polished than the artificial scene in The Birds, when we have a 'birds-eye view' of the hectic town below with the fire.  He has soared in before indoors (Ms. Ingrid holding the key in Notorious), yet this shows us a smooth entry into London and a lovely view of the Thames;
  • The blah, blah, blah politician with the red rose going on and on like the soap box speakers in Piccadilly on Sundays with empty words and empty promises and a jolly smile;
  • The hilarious guest couple--the nearly sleeping, red-faced, portly Austrian-Hungarian-German looking man with his silly big necklace (many of these are still utilized in the U.K. today with thick velvet and a medal tho ...) and his assumed wife, who is heavy, red-headed, has a silly fake grin and a ridiculous hat;
  • ​His cleverness - the four people that notice the dead body and turn much like the chorus girls did one at a time in exact sequence;
  • His abnormal warped view of women as he always has them being murdered resulting in a lack of overall respect as seen in many of his films, not so true with the men, and; 
  • ​His pushing the boundaries of ratings, now to be an "R" he can show a naked body and even show her bikini lines verses the dead woman in The Lodger.

 

 

3. 

  • He was older, but was still trying out new ways to trick us, he didn't have to have famous actors, he didn't have to get permission for anything, he had an "R" rating, which gave him great scope to get more horrific and graphic (not too happy about this turn in his style) and he could ramp up the humor with music, characters, etc. to a higher level.  This film was different; higher class location, more upbeat music, during the day, full color, all well dressed characters, all seems like a pretty spring day and we are breathing easy and trusting that this is a film that seems safe and controlled until the, "look!"


#51 Kwittenbrink

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Posted 28 July 2017 - 10:53 PM

1. How does the opening of Frenzy differ from the opening of The Lodger? Feel free to rewatch the clip from The Lodger (Daily Dose #2) for comparison. 

In the Lodger, we are shown the dead girl quite quickly - in this we have a very lofty scene of London.  We seem to be seeing the "upper crust" of London and hearing the political talk regarding cleaning up the river - ironically as we find the dead girl floating in the water.  In the Lodger we see all the different groups talking about the many murders of the golden haired girls.  To our knowledge, this is the first murder in Frenzy.

2. What are some of the common Hitchcock touches that you see in this opening scene? Be specific.

We have a very long aerial shot, and he really enjoyed those.  He enjoyed daytime and the idea that this type of horror could occur to the common man and in very public and commonly visited places.

3. Using Frenzy as an example, what thoughts do you have about the various purposes Hitchcock had in mind when he created his opening scenes? In the Daily Doses, we have focused on opening scenes, so there should be patterns or strategies you have noticed over the course of opening scenes spanning Hitchcock's 50 year career.

He seems to enjoy taking us on a tour of locations - using maps and travel guides in some of his movie trailers and talking to the audience, telling them all the wonders that we will see in his films.  It is his fun tongue-in-cheek humor that he twists his suspense movies into the every man's trip.


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#52 Schlinged

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Posted 28 July 2017 - 10:12 PM

1. How does the opening of Frenzy differ from the opening of The Lodger? Feel free to rewatch the clip from The Lodger (Daily Dose #2) for comparison. Frenzy opens with a wide shot of London from the air moving to a crowd, from the Thames River side, listening to a politicians's speech and the notice of a nude body floating in the Thames. The Lodger opens with the scream, silently, of the murder victim and then shots of the crowd around the body.

 

2. What are some of the common Hitchcock touches that you see in this opening scene? Be specific. Large crowd shot, his cameo, the bit about pollution and then a dead body floats by. All Hitchcock touches.

 

3. Using Frenzy as an example, what thoughts do you have about the various purposes Hitchcock had in mind when he created his opening scenes? In the Daily Doses, we have focused on opening scenes, so there should be patterns or strategies you have noticed over the course of opening scenes spanning Hitchcock's 50 year career. As Hitchcock has said during this course is that he wants to give the audience as much information as possible early on in the film. I think that is his main point.



#53 Marnie68

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Posted 28 July 2017 - 07:59 PM

1. The opening of Frenzy differs from the opening of The Lodger in several ways. The Lodger opens with the seventh victim screaming. Then we see the dead body, then we see the witness and then the  crowd that has gathered to gawk at the corpse. The police arrive and then the media report another death of The Avenger. In Frenzy we are first introduced to the city of London. A crowd has gathered but for a different reason. Here the media is also present but to report on pollution being cleaned up. Here there is no scream, but more of a shout as the dead body is discovered. In The Lodger the body is clothed but in frenzy the body is  naked.  We do not know at the point how many victims there have been or the name of the killer. 

 

2.The Hitchcock touches I saw in this scene are:

Opening dolly shot as we see a pan of the city of London.

POV as we pan in on the crowd gathered to here the speaker.

A crowd gathered.

Humour as the speaker talks of cleaning up the polluted waters, but a dead body floats by.

Hitchcock cameo.

Blonde victim.

The feeling that things are not at all what they seem. 

 

3.I think the strategies that Hitchcock used in his opening scenes was to invite the audience into the various worlds he created. By allowing us to become voyeurs watching the situations he has created for his characters. To whet our appetites for the suspense or shocks to come. To introduce us to the main characters so we immediately feel something for them and are drawn into the story.

Our curiosity is piqued and we want to see more.

The patterns I have seen in the opening scenes are the gathering of crowds, POV shots, the introduction of the main characters, giving the audience information that the main characters might not know yet, the build up of suspense, the foreshadowing of events to come, the feeling that something is not quite right, a few Hitchcock cameos and the mention of a MacGuffin that will propel the story. 


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#54 pete23

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Posted 28 July 2017 - 07:43 PM

1) Frenzy opens with a panoramic view of London. A travelogue made by an Londoner who had missed his city and wanted to share in its stunning view. Though the view of the Thames River is in both Frenzy and The Lodger. the difference is that Lodger starts with a scream, pan to crowd in frantic manner. With Frenzy, it opens so calmly and majestically that underlies what will happen later. The crowd is there more subdued than Lodger. Then we hear a scream and a body is discovered. 

 

2) The usual touches are the use of public space. The crowd as a starting point of the story. He use of black humor is not amused here. We see a constant politician presenting himself to the a crowd and a precise someone screams and mayhem insured. A body is discovered. Due to the relaxation of the codes, Hitchcock was more able to indulge his darker self. Hence, the nudity, the graphic depiction of the crime. His earlier efforts were bogged down by the production codes thus most of his themes are suppressed or coded. Now free of that Hitchcock was able to be free to tell his narrative in a way more mature way.

 

3) Hitchcock was able to use the new technology for his narrative. The use of helicopter shot is still spectacular. The swooping shot of London proper is more reminiscent of the opening to To Catch a Thief. That breezy look of beauty that underlies the ugliness beneath its veneer.


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#55 johnseury

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Posted 28 July 2017 - 07:42 PM

1. In the Lodger, the crime is underway while in Frenzy, the crime has already been committed.
2. Among the touches are a sweeping panoramic shot, a crowd scene, a Hitch cameo, a victim of a crime, and violence and disorder infringing upon the ordinary.
3. A common theme I see is how Hitch shows how violence disrupts what is seemingly ordinary way of life and how you try to reorient back to normalcy.

#56 Yakutyokel

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Posted 28 July 2017 - 06:12 PM

1. How does the opening of Frenzy differ from the opening of The Lodger? Feel free to rewatch the clip from The Lodger (Daily Dose #2) for comparison. 
Lodger starts with a scream and then body, and ends with the closeness to a crowd and  alarms sent out to the City in general; Frenzy begins with an overview of the city , a public city announcement and ends with the revelation of the body with a scream. They are inversions, one of the other.

2. What are some of the common Hitchcock touches that you see in this opening scene? Be specific.Experimental shots: dutch angle and long helicopter shot, droll humor, a depiction of crowds as a herd.

3. Using Frenzy as an example, what thoughts do you have about the various purposes Hitchcock had in mind when he created his opening scenes? In the Daily Doses, we have focused on opening scenes, so there should be patterns or strategies you have noticed over the course of opening scenes spanning Hitchcock's 50 year career.
In Frenzy, the title says it all, so he contrasts the implied violence and disorganization with a long, composed helicopter shot. Clearly, contrast and tension are foremost on Hitchcock's mind, and how to achieve them.
In other words, he carefully chose the opening scene to provide enough information to propel forward, but not so much as to bore the viewer.

 

After a lingering pan around the neighborhood in Rear Window, he shows the cast on a man in a wheelchair, a broken camera, and photos of a car race wreck. We fill in the exposition, allowing the director to take time and care with the development of the situation that will unfold.
In Frenzy, the crowd represents the city and the terror felt. The naked body floating contrasts with the clothed and upright (pun perhaps intended) crowd.As in Rear Window, we know the entire setup almost immediately.


In General:
Frequently, he likes to start with a bang--immediate (or soon to be danger) or shock value. He rarely waits for the 10 minute point to get
curiosity
 and blood pumping. This has a way of accelerating the momentum of the drama by eliminating too much exposition and creating immediate attention. 
 


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#57 RepublicPics

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Posted 28 July 2017 - 05:45 PM

The opening of Frenzy is reminiscent of that in The Lodger, though it unfolds quite differently.  In the Lodger, the scene begins with a scream by an apparent witness to murder, which, in turn, mobilizes the police and the press.  In Frenzy, the opening begins with a bird's-eye view of London and slowly reveals a street scene of a speaker with an audience that includes the press (and Alfred Hitchcock, as well).  The scene is interrupted by the floating corpse.

 

This scene includes the Hitchcock touches of a public setting, pov shots and the overarching sense that evil has invaded another ordinary place.  As others have pointed out, there is also some droll humor in a speech that focuses on cleaning up the pollution in the river, when the bigger problem will be confronting the evil.

 

As usual, the ordinary is disrupted by the extraordinary, and in the case of Frenzy, in a very graphic (for Hitchcock) and shocking way.  


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#58 ElaineK

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Posted 28 July 2017 - 05:04 PM

Hitchcock's opening scenes often take place in open air gatherings of people unrelated to the plot of the picture.  As with Frenzy, The Lodger opens among people gathered along the Thames, The Man Who Knew too Much opens on a crowd at a ski resort, The Lady Vanishes opens in a crowded inn. The persons or events important in the film may innocuously move through or may intrude startlingly on the crowd.  In Frenzy and the Lodger, the event intrudes, in the other two films and in several others, for example The 39 Steps and Strangers on a Train, the important characters enter unobtrusively.  

 

The characters in Frenzy have a much calmer response, "Look!", to the dead body than the screaming woman in The Lodger. The tepid response may be due to he citizens of London having had considerably more experience with death by 1974 than they had in 1928, or maybe Hitchcock himself had dealt with murder so frequently by 1974 that he was rather blasé about it.


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#59 ShawnDog

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Posted 28 July 2017 - 03:53 PM

1. The opening of Frenzy differs from the opening of The Lodger in that Frenzy builds up to evidence of a crime, whereas the latter opens with the crime (the screaming women) and the discovery of the victim.  Frenzy's opening uses Hitchcock motifs of injecting menace into a commonplace setting - a municipal presentation becoming a crime scene - and humor - a declaration to clean the river of pollution, only to have a dead body float by.  The Lodger goes from the crime, to the victim, to the witness, to the mass media reporting the murder.  Frenzy opens with a casual flight along the river to a political speech, then discover of the body.  Both convey the public's morbid curious of the crime as both films' opening have citizens crowding about to observe.

2. As referenced above, there are three Hitchcock touches presented in this opening scene.  First, the familiar setting and event interrupted by the unusual and macabre.  In this case a speech by government representatives along a river bank in London is interrupted by the discovery of a dead body floating in the river.  Second, the layer of humor is played by having the politician declare the river will be cleaned up just prior to the corpse being noticed floating in the same river.  Third, is the Hitchcock cameo, as one of the throng listening to the speech.

3. With this opening, Hitchcock has not only set the location but introduced the main (and most familiar) star of the film - the city of London - with it's beauty and it's warts.  He has also brought the audience up to speed on recent past of this story - establishing that a murder spree has been going on, and providing evidence of it's latest victim (very much like the opening of The Lodger).  The exposition of these components provide the framework of the environment which the characters will eventually be inserted.  This is Hitchcock's way of layering in the foundation first.



#60 AleGa

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Posted 28 July 2017 - 03:25 PM

Daily Dose #20
Daily Dose #20: Look!
Opening Scene from Frenzy (1972)
 
1. How does the opening of Frenzy differ from the opening of The Lodger? Feel free to rewatch the clip from The Lodger (Daily Dose #2) for comparison. 
 
In the first place, this opening scene begins with a wide shot of the space, not a person or people. The solemn music is neither transmiting mistery nor cause some kind of anxious sensation and it is important to say that seems to be related with a different genre to the one proposed by Frenzy. Also, there is camera movement in the first minutes and the action occurs in daylight in opposition to The Lodger's opening sequence night scene. Once Hitchcock focuses on the politician speech, we can see that the people is unaware of the crime that has happened while in the third Hitchcock's silent film the crowd is shown when they have already found out the dead body of the woman. 
 
It is interesting how the body is displayed, because it is not seen from a close spot and for a brief moment as in The Lodger, but from a far point and it stays more time on screen. We can not even have a sight of her face, but the whole body is more explicit and is naked, so the impact is distinct. It feels like Hitchcock is traying to disturb in a different but equally efective way.       
 
2. What are some of the common Hitchcock touches that you see in this opening scene? Be specific.
 
As it is recognizable in other Hitchcock's opening sequences, the public spaces are shown as possible contexts of such terrible crimes and in the Frenzy's opening scene this is more emphasized with the long dolly shot. The crowds are present again, common people and we can see their reactions to what is happening as crimes like in The Lodger or shows as in The 39 steps. The iconic Hitchcock cameo is there as well. 
 
3. Using Frenzy as an example, what thoughts do you have about the various purposes Hitchcock had in mind when he created his opening scenes? In the Daily Doses, we have focused on opening scenes, so there should be patterns or strategies you have noticed over the course of opening scenes spanning Hitchcock's 50 year career.
 
As I expressed in my previous response, the danger in public places and the idea that no one is safe are recurring themes in his opening scenes. However, I think that as an overall purpose is always trying to take the audience to the mood of the film through giving information about places, characters or stuations in a clear or subtle ways sometimes (which is in tune with the bomb under the table theory he mentiones in one interview), but even so, he is always creating some mistery that he is expecting the public watch develop throughout the movie. Every sequence is powerful in their own way and is also an introduction to Hitch creativity to convey that much since the very begining.

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